Let a story take you away
I'd rather be in outer space đ¸
let's talk about Bridgerton tea, my ask is open

ellievsbear

â
YOU ARE THE REASON
occasionally subtle
Monterey Bay Aquarium
Peter Solarz
Alisa U Zemlji Chuda

tannertan36
almost home
Sade Olutola

Kiana Khansmith
One Nice Bug Per Day
DEAR READER
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Aqua Utopiaď˝ćľˇăŽĺşă§č¨ćśăç´Ąă

oozey mess
d e v o n

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@writecon
Let a story take you away
Multiple sclerosis is a rude man, uses many syllables. It talks a lot over you.
FROM THE VAULT! Edwin Bodney - âOn Disease #2, Part Oneâ
Performing at Art Share LA. Want Button Poetry to come to your city? You can help make it possible!
(via buttonpoetry)
How do agentsâgenerally considered the gatekeepers to publishing companiesâapproach the issue of diversity in the publishing industry?
Are your characters more than verbal, talking more than they do anything else? Determine if your characters talk too much and learn some fixes for getting them to shut up.
I have this problem where when I first start writing a story, most of it is dialogue. I suppose thatâs the easiest way for me to get to know my characters, but itâs important to identify your weaknesses and improve them. We canât always rely on patient editors.
Want to use a fancy custom language for something, but donât know how to make one?Use Vulgar!
Vulgar is a conlang (constructed/fictional language) generator created to help literally generate a language for you. No, really. No tricks, and itâs super simple to use. Itâs my favourite tool right now for writing fantasy, even as someone who loves creating his own languages, itâs an amazing starting point.
Want a random conlang, straight away, with no prep or fuss? Just visit http://vulgarlang.com/index.html and click âGenerate New Conlangâ⌠and thatâs it. Scroll down and through your brand new, generated, completely original conlang.Â
If youâre a little more advanced in terms of conlanging and want to specify IP phonemes to be used, you can add them too, but even with no knowledge of linguistics you can create a language at the click of your fingers.
This version of Vulgar is completely free, sureâŚ. but! the guy who created it has not only made an amazing thing (which I repeat, is absolutely free at itâs most basic point), but is also planning on updating it more and more!
Under the âBuyâ tab on the Vulgar website, he links to his email, where you can offer to pay for the full version of Vulgar, which is a total steal right now at a sale price of only nineteen dollars. Considering professional conlangers and linguists could charge you, like, a metric fuck ton of money for the same data youâre getting here for just nineteen, thatâs a major steal.
Not to mention, buying the alpha build now gives you free access to all of itâs updated versions, which I can guarantee are just going to get better and better! Iâve already bought it and I adore it, and this is a tool the likes of which we in the conlang community have never seen in such an awesome way.
Please consider helping Vulgar out, because the creator is a damn genius
This is possibly the coolest thing Iâve ever come across
@evocatingÂ
âI think youâre a fairy tale. I think youâre magical, and brave, and exquisite. And I hope youâll let me be in your story.â
The Character Wardrobe Meme
Send a number to my ask box along with a character of your choice, and Iâll draw up the ensuing ensemble! (If the character chosen wouldnât wear the option given⌠go ahead and sub in something else!)
DRAW YOUR CHARACTER WEARINGâŚ
Underwear
Casual clothes
Work uniform
Night clothes
Swimwear
Formal gala garb
Lounging, lazy-time stuff
A party outfit
Date night threads
Something outdoorsy
Interview outfit
Tourist/travel wear
A costume!
Their sick day scrubs
Summer clothes
Winter clothes
Um, spring clothes?
Why not - fall clothes!
Workout wear
Last minute throw-ons
The most expensive thing they own
A fig leaf
Feel free to add, subtract, or alter as you please to fit your character bunch!
The Handling of Death in a Narrative
I was thinking about how death is handled from one show to the next, how severe one show is willing to be vs. another, what lines theyâre not willing to cross. Iâve come up with 10 different tiers, with explanations and examples for each of them, for the degree of severity with which a show may approach death. Itâs not a ranking of how dark a show is, or how cruel it is. Itâs only a focus on the treatment of death. The ranking comes down to opinion for the most part, so feel free to disagree with my stacking. Itâs just kind of a fun list.Â
The examples are mostly spoiler-free, (except for what their location on the list implies).
1. Â Â Death does not exist
Nothing and no one dies. Itâs never discussed. It doesnât exist. Everythingâs fine and nothing hurts. These shows are probably aimed at kids below 8.
Blues Clues: No explanation needed
2. Â Death exists as a concept
The characters are aware that death exists and is possible. They can find themselves in mortal peril. Characters may crack morbid jokes. Skulls and skeletons may decorate the background of evil lairs. However no one ever dies for real. These shows can only âkillâ on a loophole: if the killed character doesnât count as realâA.I.s, clones, or alternate timeline selves are fair-game. These episodes usually fall under the âWow wasnât it fucked up howâ?â category
Gravity Falls: No one dies for real, except the paper copy Dippers, may they rest in clone peace
3. Â Death can be undone
Fits the Death exists as a concept criteria, but sometimes they do let character die for realâŚtheyâre just brought back after a proper amount of shock and horror. But for a period of time, those characters were really truly dead-as-a-doorknob
Danny Phantom:Â Charactersâ lives are threatened, clone Dannys die, and Ultimate Enemy very happily killed off Dannyâs whole family. (A timeline reset saves them.) The ghosts donât qualify for further on the list since theyâre treated the same as living characters
Keep reading
It was time to kill again.
Writerâs Block
In one sentence is the spark of a story. Ignite.
Mission: Write a story, a description, a poem, a metaphor, a commentary, or a memory about this sentence. Write something about this sentence.
Be sure to tag writeworld in your block!
We know itâs the unofficial start to summer, but we just canât get enough of Autumn, the new book by Karl Ove Knausgaard! (beautiful photo by @bookbaristas!)
Illustrations for the Uppercase Planner by Simini Blocker on Tumblr
More like this
Your Characterâs Personality
Personality is the most important thing about your character.
So, whenever I see character sheets, most people just put a little paragraph for that section. If youâre struggling and donât know what your character should say or do, what decisions they should make, I guarantee you that this is the problem.
You know your characterâs name, age, race, sexuality, height, weight, eye color, hair color, their parentsâ and siblingsâ names. But these are not the things that truly matter about them.
Traits:Â
pick traits that donât necessarily go together. For example, someone who is controlling, aggressive and vain can also be generous, sensitive and soft-spoken. Characters need to have at least one flaw that really impacts how they interact with others. Positive traits can work as flaws, too. It is advised that you pick at least ten traits
people are complex, full of contradictions, and please forgive me if this makes anyone uncomfortable, but even bullies can be âniceâ people. Anyone can be a âbadâ person, even someone who is polite, kind, helpful or timid can also be narcissistic, annoying, inconsiderate and a liar. People are not just âevilâ or âgoodâ
Beliefs:
ideas or thoughts that your character has or thinks about the world, society, others or themselves, even without proof or evidence, or which may or may not be true. Beliefs can contradict their values, motives, self-image, etc. For example, the belief that they are an awesome and responsible person when their traits are lazy, irresponsible and shallow. Their self-image and any beliefs they have about themselves may or may not be similar/the same. They might have a poor self-image, but still believe theyâre better than everybody else
Values:
what your character thinks is important. Usually influenced by beliefs, their self-image, their history, etc. Some values may contradict their beliefs, wants, traits, or even other values. For example, your character may value being respect, but one of their traits is disrespectful. It is advised you list at least two values, and know which one they value more. For example, your character values justice and family. Their sister tells them she just stole $200 from her teacherâs wallet. Do they tell on her, or do they let her keep the money: justice, or family? Either way, your character probably has some negative feelings, guilt, anger, etc., over betraying their other value
Motives:
what your character wants. It can be abstract or something tangible. For example, wanting to be adored or wanting that job to pay for their fatherâs medication. Motives can contradict their beliefs, traits, values, behavior, or even other motives. For example, your character may want to be a good person, but their traits are selfish, manipulative, and narcissistic. Motives can be long term or short term. Everyone has wants, whether they realize it or not. You can write âthey donât know what they want,â but you should know. It is advised that you list at least one abstract want
Recurring Feelings:
feelings that they have throughout most of their life. If you put them down as a trait, it is likely they are also recurring feelings. For example, depressed, lonely, happy, etc.
Self Image:
what the character thinks of themselves: their self-esteem. Some character are proud of themselves, others are ashamed of themselves, etc. They may think they are not good enough, or think they are the smartest person in the world. Their self-image can contradict their beliefs, traits, values, behavior, motives, etc. For example, if their self-image is poor, they can still be a cheerful or optimistic person. If they have a positive self-image, they can still be a depressed or negative person. How they picture themselves may or may not be true: maybe they think theyâre a horrible person, when they are, in fact, very considerate, helpful, kind, generous, patient, etc. They still have flaws, but flaws donât necessarily make you a terrible person
Behavior:
how the characterâs traits, values, beliefs, self-image, etc., are outwardly displayed: how they act. For example, two characters may have the trait âangryâ but they all probably express it differently. One character may be quiet and want to be left alone when they are angry, the other could become verbally aggressive. If your character is a liar, do they pause before lying, or do they suddenly speak very carefully when they normally donât? Someone who is inconsiderate may have issues with boundaries or eat the last piece of pizza in the fridge when they knew it wasnât theirs. Behavior is extremely important and it is advised you think long and hard about your characterâs actions and what exactly it shows about them
Demeanor:
their general mood and disposition. Maybe theyâre usually quiet, cheerful, moody, or irritable, etc.
Posture:
a secondary part of your characterâs personality: not as important as everything else. It is advised you fill this out after. Posture is how the character carries themselves. For example, perhaps they swing their arms and keep their shoulders back while they walk, which seems to be the posture of a confident person, so when they sit, their legs are probably open. Another character may slump and have their arms folded when theyâre sitting, and when theyâre walking, perhaps they drag their feet and look at the ground
Speech Pattern:
a secondary part of your characterâs personality: not as important as everything else. It is advised you fill this out after. Speech patterns can be words that your character uses frequently, if they speak clearly, what sort of grammar they use, if they have a wide vocabulary, a small vocabulary, if itâs sophisticated, crude, stammering, repeating themselves, etc. I personally donât have a very wide vocabulary, if you could tell
Hobbies:
a secondary part of your characterâs personality: not as important as everything else. It is advised you fill this out after. Hobbies can include things like drawing, writing, playing an instrument, collecting rocks, collecting tea cups, etc.
Quirks:
a secondary part of your characterâs personality, not as important as everything else. It is advised you fill this out after. Quirks are behaviors that are unique to your character. For example, I personally always put my socks on inside out and check the ceiling for spiders a few times a day
Likes:
a secondary part of your characterâs personality, not as important as everything else. It is advised you fill this out after. Likes and dislikes are usually connected to the rest of their personality, but not necessarily. For example, if your character likes to do other peopleâs homework, maybe itâs because they want to be appreciated
Dislikes:
a secondary part of your characterâs personality, not as important as everything else. It is advised you fill this out after. Likes and dislikes can also contradict the rest of their personality. For example, maybe one of your characterâs traits is dishonest, but they dislike liars
History:
your characterâs past that has key events that influence and shape their beliefs, values, behavior, wants, self-image, etc. Events written down should imply or explain why they are the way they are. For example, if your character is distrustful, maybe they were lied to a lot by their parents when they were a child. Maybe they were in a relationship for twenty years and found out their partner was cheating on them the whole time. If their motive/want is to have positive attention, maybe their parents just didnât praise them enough and focused too much on the negative
On Mental and Physical Disabilities or Illnesses
if your character experienced a trauma, it needs to have an affect on your character. Maybe they became more angry or impatient or critical of others. Maybe their beliefs on people changed to become âeven bullies can be âniceâ people: anyone can be a âbadâ personâ
people are not their illness or disability: it should not be their defining trait. I have health anxiety, but Iâm still idealistic, lazy, considerate, impatient and occasionally spiteful; I still want to become an author; I still believe that people are generally good; I still value doing what make me feel comfortable; I still have a positive self-image; Iâm still a person. You should fill out your characterâs personality at least half-way before you even touch on the possibility of your character having a disability or illness
Generally everything about your character should connect, but hey, even twins that grew up in the same exact household have different personalities; they value different things, have different beliefs. Maybe one of them watched a movie that had a huge impact on them.
Not everything needs to be explained. Someone can be picky or fussy ever since they were little for no reason at all. Someone can be a negative person even if they grew up in a happy home.
I believe this is a thought out layout for making well-rounded OCs, antagonists and protagonists, whether theyâre being created for a roleplay or for a book. This layout is also helpful for studying Canon Characters if youâre looking to accurately roleplay as them or write them in fanfiction or whatever.
Iâm really excited to post this, so hopefully I didnât miss anything importantâŚ
If you have any questions, feel free to send a message.
- Chick
Creativity takes courage.
Henri Matisse (via writingdotcoffee)
My parents, brothers and sisters, teachers, and friends never viewed my hearing loss as a deficit. It was just part of who I am, part of what made me into the person Iâve become.
Heather Gudenkauf: How My Hearing Loss Inspired My Deaf Heroine (via bookish)
10 Ways to Avoid Writing Insecurity
by Sean Platt
Face it. There are few things as intimidating as the blinding white of a blank page.
It makes no difference if itâs an empty sheet lying on our desk, or a blank screen, aiming between our eyes. Defeating ânothingâ by subjecting it to âsomethingâ with our words is what gives a writer breath.
Whether to pay our bills or please our muse, eventually words must spill. Here are ten tips to help plow past writing insecurity.
1. Appreciate your unique perspective.
No one sees the world exactly like you, and no one can articulate it in quite the same way. The oldest stories are told and then retold, not because they invent new things to say, but because inside a timeless message, each storyteller may weave a million individual moments.
2. Writing is conversation.
The more we speak, the more we understand the fundamentals. Writing is no different. Most of the time, our brains operate on the surface, doing only what must be done. We may adopt the push and pull of conversation to push our voice further. Writing, much like a good discussion, can help us dig a little deeper.
3. Allow your influences to shape your voice, not drown it.
Creativity is borrowed. None of us formed our thoughts in a vacuum, and all of us were subject to a myriad of different models. Inspiration lives inside us, and our subconscious never forgets. We need not copy our heroes, their hand is always there to guide us.
4. Believe.
You can do it! Fear is a set of handcuffs, keeping our fingers from flight. If you donât believe in yourself, then no one else will either.
5. Ignore the rules.
Rules can be intimidating; intimidation a shortcut to insecurity. You may not know precisely when to use a comma and when to use parentheses, but that decision will never equal the importance of a good idea. We first need broad strokes to lend foundation. We wash our world in red, blue, yellow, and green. Chartreuse and vermillion come later.
6. Write for someone specific.
Nothing will crystallize your voice, like scribbling for a single set of eyes. It doesnât matter who it is, and it doesnât have to be the same person twice. Write as though you are speaking to them. Design your jokes to make them smile, your words to feel them near.
7. Write without pause, return later.
Alone with our thoughts, it is easy to think the worst, but we should never allow them to slow us down. When our inner whisper begins to shout, we must lower our nose and keep on going. Once drained, leave. Return later, and youâll likely be surprised at what youâve written.
8. Take pride.
Our words are simply a more permanent version of our thought. Be proud of who you are, and know that what you write is a reflection of you.
9. Even Stephen King writes with his door closed.
No one gets it right the first time through. Just start. Even if the world will be watching once you are finished, no one is watching you now. Close the door, breathe the silence, and let whatâs inside you come out to play.
10. Dip your toe, then jump⌠the waterâs fine.
The first keystroke is always the hardest, but begetting something from nothing is what separates us from the lower species (well, that and opposable thumbs). Pushing past our fear and into uncertainty, is when weâre most likely to find ourselves.
We are delighted to host the #CoverReveal for Christopher Paul Curtisâs The Journey of Little Charlie.
Hereâs a summary from the publisher:
Newbery Medalist Christopher Paul Curtis brings his trademark humor and heart to the story of a boy struggling to do right in the face of historyâs cruelest evils.
Twelve-year-old Charlie is down on his luck: His dad just died, the share crops are dry, and the most fearsome man in Possum Moan, Capân Buck, says Charlieâs dad owed him a lot of money. Fearing for his life, Charlie strikes a deal to repay his fatherâs debt by accompanying Capân Buck to Detroit in pursuit of some folks who have stolen from him. Itâs not too bad of a bargain for Charlie ⌠until he comes face-to-face with the fugitives and discovers that they escaped slavery years ago and have been living free. Torn between his guilty conscience and his survival instinct, Charlie needs to figure out his next moveâand soon. Itâs only a matter of time before Capân Buck catches on âŚ
From the author:
Dear Reader,
As I began writing The Journey of Little Charlie, I thought Iâd be telling the story of a young man of African descent as he was captured in Canada by an American slave catcher, but the story had other ideas. It was waylaid by Little Charlie Bobo, the son of a white sharecropper from South Carolina, who finds himself accompanying that same slave catcher north, in pursuit of âstolen propertyâ that he soon discovers are other human beings. The US Fugitive Slave Act of 1850 required African Americans, even those living in âfreeâ states, to provide documentation, upon request, demonstrating that they were not escaped slaves. One of the many consequences of this law was a migration of both free people of African origin and those escaping slavery beyond the US border, into Canada, where they received protection under Canadian law, and were welcomed with open arms in communities such as Buxton, Ontario.
As I listen to the radio and read the news today, I hear echoes of those events 167 years ago, stories full of fear-fueled dramatic escapes with swaddled babies and crying children and ice-covered fields â stories of people seeking freedom. As an avid student of history, I believe this is the most important thing writers can do: In addition to entertaining our readers, we can also point out that those who donât remember the past, or choose to ignore it, are condemned to live it again and again.
About the author:
Christopher Paul Curtis was awarded both a Newbery Honor and a Coretta Scott King Honor for his debut book, The Watsons Go to Birmingham â 1963, and won the Newbery Medal and the Coretta Scott King Award for his second book, Bud, Not Buddy. Mr. Curtis is also the author of the Golden Kite Award-winning Bucking the Sarge, as well as Mr. Chickeeâs Funny Money, Mr. Chickeeâs Messy Mission, and the Newbery Honor book Elijah of Buxton.